FADO E-LIST (April 2007)

FADO E-LIST (April 2006)


1. BENEFIT SCREENING: "(Mary, Mary) Are these the hands that cut?"
April 8, 2006, 8 pm; Museum of Contemporary Canadian Art
Deadline: April 7, 2006; Source: Franklin Furnace
3. SESSIONAL POSITIONS: University of Windsor (Windsor)
Deadline: April 7, 2006; Source: Akimbo
4. RESIDENCY: "The Future of Idea Art" The Banff Centre (Banff)
Deadline: April 7, 2006; Source: Akimbo
5. CALL FOR SUBMISSIONS (VIDEO): "traversing tableaux" Modern Fuel (Kingston)
Deadline: April 10, 2006; Source: Modern Fuel
6. CALL FOR PARTICIPATION (CONFERENCE): Digital Resources in the Humanities and Arts (UK)
Deadline:Aril 15, 2006; Source: Franklin Furnace
7. CALL FOR APPLICATIONS: Jan van Eyck Academie (Netherlands)
Deadline: April 15, 2006; Source: Instant Coffee
8. CALL FOR PROPOSALS (CONFERENCE): "TRANS" Univ. of Wisconsin, Madison (USA)
Deadline: April 15, 2006; Source:Franklin Furnace
9. CALL FOR SUBMISSIONS: Galerie Sans Nom (Moncton)
Deadline: April 15, 2006; Source:Galerie Sans Nom
10. CALL FOR SUBMISSIONS (TEXT): Locus Suspectus (USA)
Deadline: April 30, 2006; Source: Locus Suspectus
Deadline: May 1, 2006; Source:Akimbo
Deadline: May 1, 2006; Source Artsadmin e-digest 213
Deadline: May 7, 2006; Source: e-flux
14. CALL FOR SUBMISSIONS (CONFERENCE): Performance Studies International (UK)
Deadline: May 15, 2006; Source: Franklin Furnace
15. CALL FOR PROPOSALS: "HATCH" Harbourfront Centre
Deadline: May 19, 2006; Source: The RED Letter
16. CALL FOR CONTRIBUTIONS (PRINT): "On Beckett" Performance Research Issue 12:1 (UK)
Deadline: May 29; Source: Performance Research
17. CALL FOR ENTRIES: "Lines of Flight" (USA)
Deadline: June 2, 2006; Source: Leonardo-isast
18. CALL FOR SUBMISSIONS: ARCfest (Art For Real Change)
Deadline: June 12, 2006; Source: Instant Coffee
Deadline: June 30, 2006; Source: Artsadmin E-digest 211
20. MASTERS DEGREE IN DIGITAL PERFORMANCE: Queen Mary University of London (UK)
Deadline: not indicated; Source: Franklin Furnace
21. CALL FOR PERFORMANCES: The Center of the Known Universe (USA)
Deadline: not indicated; Source: Erik Fabian
22. CALL FOR PROPOSALS: "tract" (UK)
Deadline: not indicated; Source: Artsadmin E-digest 212
23. ONLINE ARTS PROJECT FOR YOUNG ARTISTS: "terminus1525" (Canada)
Deadline: not indicated; Source: terminus1525
24. PUBLICATION LAUNCH: "agora8" (online)
Source:Kenny McBride
25. EVENT (LECTURE): "Disruptive Consciousness" Carolee Schneemann
April 7, 2006, 8 pm; Museum of Contemporary Canadian Art

1. BENEFIT SCREENING: "(Mary, Mary) Are these the hands that cut?"
April 8, 2006, 8 pm; Museum of Contemporary Canadian Art

"(Mary, Mary) Are these the hands that cut?"
Benefit Screening & Party for Glad Day Bookshop
Saturday, April 8, 8 pm $5 @ MOCCA, 952 Queen St. W.

Presented by A Space, CFMDC, Charles Street Video, Fadp, Images Festival, LIFT, MOCCA, Pages Bookstore, Pleasure Dome, Prefix, Trinity Square Video, and Vtape

On April 8th, please join us for a benefit program of media art works for the oft-persecuted Glad Day Bookshop — though of course actually patronizing this fine establishment (598A Yonge Street, <http://www.gladdaybookshop.com>www.gladdaybookshop.com) would do the most toward easing the pain of their $100,000 bill for legal fees. By presenting a program of work that confronts the issues of censorship and government control of moving images we want to promote continued awareness to the acts of the current regime.

We want to cut back at them. The title of the evening’s screening comes from Snip, Snip (1981), a hilarious, bitingly satirical video by Colin Campbell and Rodney Werden. The work colourfully imagines a ”cutting party” held by Mary Brown, then head of the Ontario Censor Board, along with some of her concerned friends. Considering that queer work is most often the subject of criminalization, Campbell and Werden’s delightfully campy jab at the eagerly snipping censor’s hands is the perfect centrepiece to our evening of sharp cinematic protest against the OFRB.

The Ontario Film Review Board is addicted to power, and no institution knows this better than Glad Day Bookshop. After an Ontario court ordered the Board to cease their activities when the pioneering gay bookstore successfully appealed their conviction of selling an unclassified porn video, the new Film Classification Act of 2005 not only allowed the Board to continue unabated but effectively broadened their powers of prior restraint. While they pretend that mandatory fees paid by distributors and retailers for the classification of their films is not a form of censorship — which they claim to have abandoned — what else can you call a practice that discriminates against those who can’t afford the Board’s precious stamp of approval?

Many artist-run centres have a policy of refusing to submit the film and video works by artists for prior approval. This is not because of the prohibitive fees — film festivals have been and continue to be exempt from having to submit work for rating on the condition that they make all of their screenings eighteen and over — but because we firmly believe in artistic freedom and feel that people of all ages should be able to see independent and avant-garde film and video works. All arts organizations should be vigilant watchdogs of the OFRB.

Video Programme:
Faces, Geoff Pugen, 2004, Interactive Installation, Canada
My Tango with Porn, Siobhan Devine, 2003, 11 min. excerpt, Canada
1000 Cumshots, Wayne Yung, 2003, 1 min. Canada
Glennda and Camille Do Downtown, Glenn Belverio, 1993, 29 min. USA
True Inversions, Lorna Boschman, 1992, 24 min. Canada
Snip Snip, Colin Campbell & Rodney Werden, 1981, 30 min. Canada

Dj Will Munroe and The Robotic Kid to follow

Faces, Geoffrey Pugen (2004): An interactive DVD of interviews with various artists, academics, and activists on the subject of censorship in the 21st century. Faces is a vital document of the ongoing fight for free expression in Ontario.

My Tango with Porn, Siobhan Devine (2003): Lesbian filmmaker Siobhan Devine joins the Ontario Film Review Board and brings a camera with her, providing an insider's look at how films are classified and who makes decisions behind the scenes. (Excerpt)

1000 Cumshots, Wayne Yung (2003): A rapid-fire montage of shots culled from mainstream gay porn that illustrates the similarities of the bodies used to promote a certain type of desire. With his version of a "White Party," Yung ironically eschews the politics of circuit culture.

Glennda and Camille do Downtown, Glenn Belverio (1993): Anti-feminist establishment Feminist scholar Camille Paglia and drag queen provocateur Glennda Orgasm hit the streets of Manhattan on a mission to, in Paglia's words, "trash the feminist establishment" and its "anti-porn, anti-sex agenda." After all, as Glennda puts it: "A day without porn is like a day without sunshine!"

True Inversions, Lorna Boschman (1992): This complex, self-reflexive work by the Kiss & Tell collective analyses the politics of pleasure and its representation while suggesting that the conflicts within censorship debates are not limited to opposing community standards of representation but also exist as internal conflicts that can divide intimate relationships and personal identity within "homogenous" communities.

Snip, Snip, Colin Campbell with Rodney Werden (1981): In this bitingly satirical piece, Colin Campbell stars as former head of the Ontario Censor Board Mary Brown as she holds a "cutting party" with some concerned friends to purge risqué material. As Ms. "M" instructs, if you find something offensive, "just say cut."

Deadline: April 7, 2006; Source: Franklin Furnace

iLAND- Interdisciplinary Laboratory for Art Nature and Dance is announcing its first pilot residency program. Requests for Proposals are now available at ilandart.org. Applications are due April 7, 2006 at 5pm.

iLAB is a collaborative residency program for movement based artists and scientists, environmentalists, urban designers/landscape architects, architects and others that will integrate creative practice within the different fields/disciplines. The first iLAB residency period is May - September 2006.The goals of iLAB are 1.) to invigorate and re-imagine relationships between the public and the urban environment through kinetic experience, 2.) to engage artists and practitioners across the disciplines of dance, art, and the ecology of physical interrelationships such that we create and investigate innovative approaches to science, infrastructure, urbanisms, and architecture within a performative context. 3.) to support the development of process in engagement over product such that process is itself a product for artistic and public action.

THE RFP AND APPLICATION GUIDELINES ARE AVAILABLE AT ILANDART.ORG. For more information call Jennifer Monson at 917 860-8239

3. SESSIONAL POSITIONS: University of Windsor (Windsor)
Deadline: April 7, 2006; Source: Akimbo

University of Windsor
Sessional/Overload Course Offerings - INTERSESSION 2006

In accordance with Section 54:07 of the Collective Agreement, the School of Visual Arts invites applications from qualified individuals.


27-243  Introduction to Time-Based Art  June 5 - 23  Monday through Friday, 9 - 3
An introduction to the uses of technique in production of video, sound, performance and processed images.  An exploration of the media's language, discourse and issues through creative _expression_.

Candidates must have an MFA degree or equivalent, previous post-secondary teaching experience and an established exhibition record.

Please include 20 slides of current work with your application

Art History

28-150  Contemporary Visual Culture  May 15 - June 23  Mondays & Wednesdays, 2:30 - 5:30
A critical investigation of the visual imagery and artifacts of contemporary culture.  Drawing upon examples from TV, advertising, cinema, cyber culture, architecture, design and art, students are introduced to such concepts as spectacle, kitsch, simulacrum, and hypertext paradigm.

Candidates must have a Ph.D. or equivalent, previous post-secondary teaching experience and an established record of published work.

Applications may be forwarded to:
Prof. Brenda Francis Pelkey, Director
School of Visual Arts
University of Windsor
WINDSOR, Ontario N9B 3P4

Please include an updated C.V. with your Application
Applications from those who have not taught previously in the School, please submit  three current letters of reference.
(subject to sufficient enrolment and budgetary approval)       

4. RESIDENCY: "The Future of Idea Art" The Banff Centre (Banff)
Deadline: April 7, 2006; Source: Akimbo


Program Dates: September 18 - November 3, 2006
Application Deadline: April 7, 2006
Scholarship: More than 50%

The Banff Centre will be scholarshipping more than half the cost of the fall Visual Arts Residency, the Future of Idea Art. This residency is an opportunity for up to 32 artists to investigate conceptual art in the broadest possible terms. Artists are encouraged to interpret the theme in numerous ways, and to see this as an opportunity to create new works among a milieu of professional international peers.

Among numerous possibilities, The Future of Idea Art raises questions including:
* Why is there a resurgence and renewed interest in conceptual art?
* What is the future of conceptual or conceptually-inspired art in an international context?
* What are the implications of conceptual movements internationally?
* How does today's context, for example in more consumerist societies, relate to conceptualism now as opposed to the '60s and '70s?

This residency is intended as an opportunity for a broad range of artists to be supported in the creation of new work. Whether rule-based, idea-based, language-based, or any other form or attitude of conceptualism, this thematic residency provides an opportunity for artists, curators, and critics to reflect upon and discuss these trends, and plot courses, examine the relevance, critique, or even celebrate idea art from the 1960s through the next decade and beyond.

The Future of Idea Art is produced in collaboration with a number of public art galleries during the research phase of a major touring exhibition on the role of Canadian conceptual art in an international context. Curators will conduct studio visits with the artists in this residency.

Apply today for this outstanding residency opportunity!

For more information visit <http://www.banffcentre.ca/va>www.banffcentre.ca/va.

Or contact the Office of the Registrar:
Email: <mailto:arts_info@banffcentre.ca>arts_info@banffcentre.ca
Phone: 403.762.6180 or 1.800.565.9989
Fax: 403.762.6345
Website: <http://www.banffcentre.ca>www.banffcentre.ca

5. CALL FOR SUBMISSIONS (VIDEO): "traversing tableaux" Modern Fuel (Kingston)
Deadline: April 10, 2006; Source: Modern Fuel

Modern Fuel Artist-Run Centre invites emerging artists to submit video works of 30 seconds to two minutes in length in response to the theme: traversing tableaux for exhibition in MFARC's State of Flux gallery from June - July 2006.

The expression of a moment, a flash experience, realization, or observation, negotiated in terms of movement, the intention is to convey a transitory impression of time through narrative or abstract interpretation. Whether a linear story or non-figurative depiction of a moment, traversing tableaux is a snapshot of the living.

Questions? info@modernfuel.org

Deliver to:
Modern Fuel Artist-Run Centre
c/o Emilie Allen, Curator
21A Queen Street, Kingston ON K7K 1A1
Deadline: April 10, 2006

6. CALL FOR PARTICIPATION (CONFERENCE): Digital Resources in the Humanities and Arts (UK)
Deadline:Aril 15, 2006; Source: Franklin Furnace

Dartington College of Arts, UK, call for conference participation

An international invitation and call for participation in a major conference for practitioners and scholars working with digital resources in the Humanities and Arts.

SEPTEMBER 3-6, 2006

for further details see


This year the renamed DRHA Conference - Digital Resources in the Humanities and Arts - is choosing to bring a new dimension into its standard range of digital projects and interests across the major disciplines of the humanities (archaeology, history, literature, languages, linguistics...) by offering an exceptional invitation to practitioners and scholars working with digital media across the creative, visual, performing and media arts (music, performance, dance, visual arts, gaming, media...). This development is intended to draw upon and give greater opportunity to consider changes that have occurred through the various applications of digital resources across multi-media platforms and practice-based and practice-led arts research. This development offers an opportunity to all participants involved in either the arts or the humanities to present, witness, experience and exchange knowledge and applications of accessible digital resources, and to appreciate how the collaborative practices of everyone involved with digital resources has a considerable potential to inform and influence other disciplines.

If you are working with digital processes and resources in any discipline in the arts or the humanities or allied subjects, you are warmly invited to consider making a presentation about your work or to articulate your perspective on the key themes of Conference 2006 which will be considering digital strategies, engagements and developments both as of now and in the future.

This significant and unique opportunity for an exchange of views, experience, approaches and knowledge across all the disciplines of both the humanities and the arts involved with digital resources, will be held at Dartington College of Arts (Totnes, Devon, UK) from Sunday September 3rd to Wednesday September 6th, 2006.

The history and environment of Dartington College of Arts make it theperfect location for this Arts and Humanities Conference 2006. Well known as a place of special beauty and seclusion, the performance studios and exhibition facilities are equally superlative and include the 14th Century Great Hall, The Barn Theatre, The Gallery, plus several 'black-box' and 'white-box' studios equipped with highly sophisticated computer installations appropriate for music, sound, theatre, dance, media, exhibition, installation, screenings, demonstrations and presentations of both completed digital works and work in progress; comfortable well-equipped seminar rooms complement these facilities for the presentation of academic papers, panels sessions and debates; outdoor events are possible in the extensive gardens and estate grounds. You can visit Dartington College of Arts online at: http://www.dartington.ac.uk/space/index.asp

For this Conference two websites have been commissioned to give expanded up-to-date Conference details and to provide opportunities for making proposals and registering online. The Dartington venue website is at http://www.dartington.ac.uk/drha06/index.asp

and the DRHA2006 website (providing further details and facilities for making online proposals and checking the overall Programme as it develops) is at http://www.ahds.ac.uk/drha2006/index.php?cf=5

On these websites and also duplicated below you will find more detailed
information on:
key themes for Conference 2006;
how you can participate and make proposals for presentations;
the variety of presentation formats available;
additional notes for practitioners with particular technical requirements;
key dates;
points of contact for further information.

DRHA Conferences are never less than inspirational for those working with digital resources in the arts and humanities. The conference series has established itself firmly in the UK and international calendar as a major forum bringing together scholars, practitioners, artists, innovators, curators, archivists, librarians, postgraduates, information scientists and computing professionals in an unique and positive way, to share ideas and information about the creation, exploitation, use, management and preservation of digital resources in the arts and humanities and to analyse the all-important contemporary issues surrounding them.

With the advent of DRHA this conference series enters a new decade (the first DRH Conference was at Somerville College, University of Oxford in 1996) and begins an exploration of new horizons in digital resources. I hope you will feel a sense of anticipation and be inclined to join this significant and exceptional Conference 2006 in order to participate in its presentations and debates and to contribute to and further its fine traditions of scholarly, artistic and cultural endeavours and exchange . Further details on how to participate are available on the websites and duplicated below for convenience and easy reference.

I look forward to welcoming you to Dartington and DRHA2006.
Barry Smith
Programme Chair, DRHA Conference 2006

Please find below more detailed information on:
key themes for Conference 2006;
how you can participate and make proposals for presentations;
the variety of presentation formats available;
additional notes for practitioners with particular technical requirements;
key dates;
contacts for further information.

The Conference will continue to address the key emerging themes and strategic issues that engagement with ICT (Information Communications Technology) brings to scholarly research and artistic practice. In 2006 it will be particularly concerned to address such issues as:
the benefits of digital resources for creative work, teaching, learning, scholarship;
the application, creative use and development of digital resources; the problems associated with scale and sustainability;
new insights arising from the integration and cross-fertilisation of digital resources in the arts/humanities/sciences;
the achievement and further development of global networks across the arts and humanities and the strategies for change this situation merits;
the socio-political impact of engagement with global ICT.

The Conference will seek to answer such questions as:
What have been the advantages of the digital developments of the last decade on humanities and creative arts processes (including publishing and broadcasting)?
What new benefits will be on offer for the future?
What have been the effects of digital developments of the last decade on the range of cultural industries (including design, fashion, gaming etc) and what are the implications for future research cultures?
What changes will further technological advances and social trends a) make possible and b) demand?
What can scholars in the humanities using visualisation and digital rendering methods learn from computing developments in the creative, visual, performing and media arts and what developments might be advantageous vice-versa?
What have been and what will in the future be the influence of digital media on scholarly and practice-based research in the arts and humanities?
How has technology and working with technologists changed the way practitioners and scholars work in the arts and humanities?
What is the potential for fruitful digital resource-based relationships between academia and business, creative and professional development, investment and professional opportunities?
How are new advantages best exploited and any conceptual and infrastructural problems brought in the wake of new technologies best overcome?
What are the differences and what the similarities between knowledges produced mainly through material contact and those produced solely through digital media?
What are the consequences of digital resources on education at all levels and what parameters exist and should exist to encourage e-learning?
How have e-learning, e-science and the range of distributed social network technologies impacted on research in the arts and humanities and what strategic changes might they bring in the future?

DRHA is currently accepting proposals for the 2006 Conference: individual papers, panel sessions, workshops and poster presentations, work in progress, performances, exhibitions, demonstrations. The online system for submitting a proposal is now operational at:

Deadline: Proposals should be submitted by 15th April 2006.
Please note: all proposals will be peer-reviewed before being accepted and all participants, whether or not making a presentation, are expected to meet conference registration costs.

The conference will consist of a lively mix of papers, demonstrations, events, keynotes, "posters", debates and panel sessions. The Programme Group undertake to timetable accepted proposals to achieve this mix and in order to facilitate this you are requested to present your proposal in one of the formats outlined below:

Presentations of ARTWORKS or WORK IN PROGRESS (in most appropriate form) having particular regard to digital resources. Contributions may vary from live or recorded performances (music, dance, theatre), exhibitions (visual arts, photography), screenings (film, video formats, media), mixed-media arts, installations and video games, writing, text and online publishing to demonstrations and excerpts outlining the key ICT and digital aspects contributing to the work. Proposals to present an artwork should be made via the standard online procedures with a statement of approximately 500 words about the piece plus details of space and technical requirements. In addition practitioners proposing presentation of artworks are advised to read the additional notes below, "Additional notes for practitioners".

PAPERS: Proposals to present papers on any aspect of digital resources in the arts and humanities (including innovations, investigative research, archives and digitisation, language translation, AI applications etc) should be of approximately 500 words. Papers will be allocated 30 minutes for presentation, including questions.

"SESSIONS": Sessions (90 minutes) take the form of either:

THREE PAPERS. The session organiser should submit a 500 word statement describing the proposed session topic, and include abstracts of approximately 500 words for each paper. The session organiser must also indicate that each author is willing to participate in the session;


A PANEL of four to six speakers. The panel organiser should submit an abstract of approximately 1000 words describing the panel topic, how it will be organized, the names of all the speakers and how they might be expected to contribute to the topic, and an indication that each speaker is willing to participate in the session.

POSTER Presentations: Poster presentations may include computer technology and project demonstrations. Poster presentations may be the most suitable way of presenting late-breaking results or significant work still in progress and, in acknowledgement of the special contribution made by Poster Presentations, the Programme Committee will once again make a "Poster Presentation" award.

Practitioners may wish to show/demonstrate their work on one occasion but introduce and/or invite discussion about it at a separate session before or after the production/demonstration, as most appropriate. This configuration is encouraged but the organisers request any such explanatory session should fit into one of the structures outlined above (i.e. paper/s or panel). Artists and practitioners will doubtless also want to ensure that technical requirements are fully discussed and agreed beforehand and are requested to include full technical requirements with their proposals.

From March 1st 2006 proposals can be submitted via the electronic submission form at the conference website:

Saturday 15th April 2006: Deadline for submission of proposals/abstracts.
Monday 1st May 2006:
Notification of acceptance of proposals.
Registration opens (early booking advised, restricted to a maximum of 250 persons).
Provisional programme announced.

From Sunday September 3rd to Wednesday September 6th, 2006.

7. CALL FOR APPLICATIONS: Jan van Eyck Academie (Netherlands)
Deadline: April 15, 2006; Source: Instant Coffee

Jan van Eyck Academie
Post-academic Institute for Research and Production
Fine Art, Design, Theory

Call for applications
Deadline: 15 April 2006

Artists, designers and theoreticians are invited to submit research and production proposals to become a researcher at the Jan van Eyck Academie. Candidates can either apply with a topic of their own or for a project formulated by the institute itself. In order to realise these projects, the Jan van Eyck offers the necessary made-to-measure artistic, technical and auxiliary preconditions.

The Jan van Eyck Academie is an institute for research and production in the fields of fine art, design and theory. Every year, 48 international researchers realise their individual or collective projects in the artistic and challenging environment that is the Jan van Eyck. The institute is not led by predetermined leitmotivs. Artists, designers and theoreticians can submit independently formulated proposals for research and/or production in the Fine Art, Design and Theory department or candidates can apply for collective research projects formulated by the Jan van Eyck (see below). The miscellaneous nature of these research projects and productions makes the Jan van Eyck into a multi-disciplinary institute. This also shows in the programme of the institute. Researchers, departments and the institute organise various weekly activities, to which special speakers are invited: lectures, seminars, workshops, screenings, exhibitions, discussions,? External interested parties are welcome to attend these activities. The result is a dynamic and critical exchange between the different agents from within and outside of the Jan van Eyck.

Researchers are advised by a team of artists, designers and theoreticians who have won their spurs globally. They receive their own studio and a stipend. Furthermore, researchers can make use of all kinds of facilities which support their projects from first concept to public presentation: the library, the documentation centre, various workshops (wood and other materials; graphic techniques; photography; digital text and image processing and editing; time-based media) and the production bureau (assistance with print work, editing and all other productions, pr and distribution).

Candidates can apply for a department or a collective research project as listed below. The one- or two-year research period at a department starts in January 2007. The start and duration of research periods of collective projects differ.

More information about the application procedure can be found at http://www.janvaneyck.nl/_devices/frames_applications.html

For practical questions concerning the application procedure or to request an information brochure, please contact Leon Westenberg (leon.westenberg@janvaneyck.nl).
For content-related questions on the Jan van Eyck Academie in general, its departments or on the collective research projects, please contact Kim Thehu (kim.thehu@janvaneyck.nl).

8. CALL FOR PROPOSALS (CONFERENCE): "TRANS" Univ. of Wisconsin, Madison (USA)
Deadline: April 15, 2006; Source:Franklin Furnace

The Visual Culture Cluster at the University of Wisconsin-Madison extends its invitation for proposals to participate in the Visual Culture conference TRANS, designed to foster transdisciplinary actions and set for October 19-22, 2006.

The new deadline for working groups and seminar paper proposals is APRIL 15.

The complete call for participation and further information on the conference can be found at http://www.visualculture.wisc.edu/Conference/call.htm
Caroline Malloy-Glaab
Project Assistant
Trans: Visual Culture Conference
University of Wisconsin-Madison

9. CALL FOR SUBMISSIONS: Galerie Sans Nom (Moncton)
Deadline: April 15, 2006; Source:Galerie Sans Nom

[version française suit]

Call for submissions

Galerie Sans Nom is the only Acadian artist-run centre dedicated to the presentation of visual and multidisciplinary art. Since 1977, the centre has supported artists’ initiatives, encouraging experimentation and innovation. Galerie Sans Nom’s programming takes into account current artistic tendencies and reflects contemporary issues while remaining relevant to its social and artistic community. GSN extends its activities to a variety of artistic practices and disciplines in order to respond to the changing needs of a diverse community in a growing urban environment.

- detailed description of project
- technical requirements of proposed project
- curriculum vitae or biography
- 10-15 examples of recent work on slides, cd, dvd, video or audio tape
- detailed list of support material
- self-addressed stamped envelope
- press kit (optional)


* A new space is dedicated to the presentation of media arts.

Galerie Sans Nom
16 - 140 Botsford
Moncton, NB E1C 4X5
506 854-5381 / <mailto:gsn@fundy.net>gsn@fundy.net

Appel de dossiers

La Galerie Sans Nom est le seul centre d’artistes acadien voué à la présentation des arts visuels et multidisciplinaires. Depuis 1977, elle appuie les initiatives d’artistes, favorisant l’expérimentation et l’innovation. Sa programmation tient compte des tendances de l’art actuel et reflète les préoccupations et les réalités contemporaines, tout en étant pertinente pour son milieu et sa communauté d’artistes. La GSN étend ses activités à une variété de pratiques et de disciplines afin de répondre aux besoins changeant d’une communauté diverse dans un milieu urbain en croissance.

- description détaillée du projet
- besoins techniques du projet proposé
- curriculum vitae ou biographie
- dix à quinze exemples de travaux récents en diapositives, sur cd, dvd, cassette audio ou vidéo
- liste détaillée du matériel d’appui
- enveloppe de retour pré-affranchie
- dossier de presse (facultatif)


* Le Placard est un nouvel espace de diffusion pour les arts médiatiques.

Galerie Sans Nom
16 - 140 Botsford
Moncton, NB E1C 4X5
506 854-5381 / <mailto:gsn@fundy.net>gsn@fundy.net

10. CALL FOR SUBMISSIONS (TEXT): Locus Suspectus (USA)
Deadline: April 30, 2006; Source: Locus Suspectus

Call for Submissions on Home/lessness

Locus Suspectus, a new magazine of art and culture, seeks textual and visual proposals for its second issue exploring the notion of "home". Globalization has made it increasingly difficult to conceive of home as a singular and stable location. Moreover, home for many individuals often exists as a constant state of homelessness due to social, economic, and political circumstances. Despite this plurality of meaning, home often carries with it a nostalgic longing for stasis and a pressure and tendency to identify ourselves and others largely in terms of where we live and where we have come from.

We welcome the submission of critical essays, cultural reviews, and socio-political perspectives (in English or French) on the topic of home. Artistic and written contributions could include critical examinations of home in diverse socio-political and cultural contexts, reviews of artistic events, interviews, and social commentaries.

Submission guidelines:
Textual submission: Near to completion draft of 500 and 1300 words; MLA format (in-text citations, no footnotes/endnotes); rtf format only.

Visual submission: Good quality photographs, slides, or jpg images; (must be 300 dpi for the final publication).

All submissions should include a brief biography (max.1 page), C.V. (max. 5 pages), an artist statement (for visual submissions), and a research statement (for textual submissions).

Please e-mail your submission to locussuspectus@googlemail.com or mail by post to:

Locus Suspectus
c/o Faillon est
Montreal, Quebec H2R 1K6

Submission deadline: April 30th, 2006, midnight

We thank you in advance for your contribution. Each submission will be given careful consideration and it will be answered.

Deadline: May 1, 2006; Source:Akimbo

local art in local garages

ALLEYJAUNT is Toronto's alternative, urban, community arts event. The event gives exposure to local artists, encourages public interaction with art, and reaches out to a diverse community of all ages within the Trinity Bellwoods Park neighbourhood setting.

In additional to our juried exhibitions, this year's ALLEYJAUNT will also include two externally curated and juried sections to the event. Please clearly specify which of the three calls for submissions you are applying for.

1. The Jaunt. ALLEYJAUNT's general call specifically seeks art exhibits, installations, and performances that respond to the environment of the garage, the alley and the local urban community. Proposals should reflect this mandate.

2. Surprise. Ephemeral artistic interventions into collective spaces can surprise and provoke, make the familiar strange and provide for a momentary critical reflection on the nature of urban experience. This is a specific call for temporary installation or performance works designed for the sites and spaces beyond the designated garages. We are seeking projects that will tie together the various exhibition garages with another layer of artistic intervention that captures the flux, chance and accident of everyday life.

3. Give! We invite submissions that investigate the dynamics of gift-giving as a concept, creative statement and mode of operation for subversion, intervention and connection. Gifts may be ephemeral or physical, an action or an object, articulated as street actions, mischievous interruptions, spontaneous interludes, or unconventional connections confronting the ways we practice shared urban space. Without being limited to the designated garage spaces, artists are encouraged to address the multiple faces of gift-giving, so that engagement is simultaneously affectionate and cynical, intimate and removed, charitable and motivated by criticality.

The 4th annual ALLEYJAUNT will be held on August 12 & 13, 2006

3 Calls for Submission
Deadline: May 1, 2006

Submission Requirements
Identify which call you are submitting to
A short description of project (max. 250 words)
Support Mateiral (Max 10 slides/jpgs on CD)
Include SASE if you want support material returned

Please send submissions to:
17 Bank Ave.
Toronto, ON
M6K 1R4

Queries: info@alleyjaunt.com www.alleyjaunt.com

Deadline: May 1, 2006; Source Artsadmin e-digest 213

Wake Up Call is a public art project that maintains the intimacy of a private experience.

Wake Up Call is currently accepting submissions of any artwork able to be transmitted through telephony. Exhibition runs through Jan ’07. All genres will be considered: no thematic, content, or stylistic requirements need be met though the works will undergo a juried process.

Wake Up Call steals from whoever invented the hotel wake-up call and also from robot telemarketers. It lets a person, any person, move from sleep to wakefulness via a sound, a poem, a song of the person's choosing. It lets a person move from being acted upon by technology to using technology to be an actor - an agent in a poetic mission.

The interactive loop of this project is simple: users pick an audio artwork from a menu on the website, schedules the call (time of day – that day, a week, a month in advance, etc), and adds a personal, unique message. The Wake Up Call software stores the user's desire and carries it out through auto-dial and code-to-speech conversion. When art whispers in your ear, everybody wins.

DEADLINE: May 1st 2006.
CONTACT: See http://www.tele-art.org for technical specifications

Deadline: May 7, 2006; Source: e-flux


Festival of Regions, Marktplatz 12, A-4100 Ottensheim or <mailto:office@fdr.at>office@fdr.at, Tel: +43(0)7234 85 2 85, Fax: +43(0)7234 85 2 85-4,< http://www.fdr.at> http://www.fdr.at

Deadline for submissions: Sunday, 7 May 2006 (postmark)

Duration of Festival: June/July 2007

Transnational mobility, often compulsory, and continued drastic differences in standards of living have changed the thought of progress, at least in Europe, into a stop-and-go movement between security-oriented persistence and protectionism, and a simultaneous intensification of competition and demands for change. Present-day life and projections for the future are mostly caught in polarities. Opening up and sealing off, internationalization and national autonomy, ecology and technical development, sustainability and ever-increasing pressure toward flexibility etc.

As so often in situations with initially contradictory options for action, apart from the propaganda machines operating at top speed, hopelessness and a feeling of inevitability take hold. At the same time, old and new movements endeavour to find options to overcome stagnation and maintain the ability to act. The current social situation draws its nervous, tense volatility from these antagonisms. In zones of apparent calm and satisfaction, a depressive pressure pervades, whereas around them the lines of flight cross. The various resonances begin to become superimposed and much becomes possible: stillness through suspension, sound through interactions and a build-up into unimaginable frequencies with an uncertain course.

With the theme Exits and Dead Ends the Festival of Regions is bracketing its pretension to local reference together with a worldwide relevant issue. With the environs of the Pyhrn expressway (23 communities in the district Kirchdorf upon Krems), a region was chosen as the focal region for the 2007 festival which has had to repeatedly confront the controversy between opposed progressive movements. Between transnational axis, recreational area and transitional zone to central regions, numerous points of reference for developing projects can be expected.

The Festival of Regions has been taking place every two years since 1993 at decentralized venues in the federal state of Upper Austria (capital: Linz) and since then has developed into a major contemporary event for present-day, site-specific art and culture. At the interface between art and everyday life, the festival's projects involve the region of focus and its general public in the discussion of social, political and artistic questions.

Call for submissions
The Festival of Regions is inviting project proposals from the areas of site-specific art and culture, art in public space, everyday culture, performance and participatory practices for the 2007 festival program.

Who can make a project proposal?
Anyone with an idea on the theme: individual artists or artists collaborating in a team, individuals working in the area of culture and society, scientists, initiatives, associations, NGOs or working groups.

Who will select the projects?
The board and director of the Festival of Regions will make a preliminary selection with the support of an independent international program advisory board. Within this preliminary selection, the festival director will design a program. A decision will be made without the possibility of recourse to legal action. Direct invitations and commissions will round off the program.

Who is organizing the Festival of Regions?
An independent association called the Festival of Regions with support mainly from the State of Upper Austria, the arts section of the Federal Chancellor's Office of the Republic of Austria, the city of Linz and individual financial sponsors.

The association's board is composed of Susanne Blaimschein, curator and exhibition organizer, Eva Gütlinger, cultural worker, adviser, adult educator, Gabriele Heidecker, architecture communicator and cultural worker, Dagmar Höss, artist, curator and art communicator, Eva Immervoll, managing director of the KUPF Cultural Platform Upper Austria and cultural worker, and Gerald Priewasser, artist and designer.

Festival director: Martin Fritz

What should the project proposal include?
1 Project description
2 A concise description of the project in no more than 500 characters
3 A visualisation, script or other presentation of the project and its realization that is as vivid as possible
4 Place of realization or spatial-situational requirements
5 Presentation of the project's authors and initiators
6 Organizational framework
7 Timetable for project development and realization
8 Financial plan
9 Project director including address, telephone number and e-mail address

The project proposal can be submitted in either English or German and should be a maximum of seven pages long.

Regional cultural initiatives
Apart from submitting independent productions, cultural initiatives and associations in the focal region can also submit proposals for co-productions, commissions or focal points for the program as well as ideas for festival venues, etc.

The Festival of Regions cannot accept any responsibility for the documents submitted. The rejection of a proposal does not give the authors of the project any claim on the Festival of Regions or any other persons acting on behalf of the Festival. In particular, the Festival is not liable for any expenditure which the authors of projects have incurred with a view to their potential participation in the Festival.

The project proposal can be sent by mail in 10 copies (Din A4) or by e-mail in the preferred format of a Word or a PDF file up to 2 MB. Additional materials cannot be taken into account.

14. CALL FOR SUBMISSIONS (CONFERENCE): Performance Studies International (UK)
Deadline: May 15, 2006; Source: Franklin Furnace

Performance Studies international #12: Performing Rights, Queen Mary, University of London, June 2006.

The Performing Rights Library is a body of materials, documentation and evidence that aims to archive the remains of performance-related interventions, as well as to stimulate performance and human rights experimentation. An experimental model of the Performing Rights Library is being set up in June 2006 as part of Performance Studies international (PSi) #12: Performing Rights, a four-day conference and accompanying programme of live events. The event is organized by Queen Mary, University of London, in partnership with the Live Art Development Agency (UK) and East End Collaborations.

The Performing Rights Library will be developed into a resource that will tour to international locations, as a roving archive and educational resource. The project looks at the significance of human rights in a time of war and globalisation, makes links between international and local communities, and tests innovative practices that might facilitate human rights work. The library will create a network between academics, artists, and activists involved in the intersections between performance and human rights work.

Practitioners are invited to submit materials that explore the relations between performance practices and human rights, for inclusion in the project. Submissions might include photocopies of articles, publications, videos, DVDs, CD ROMs, brochures, posters, links to digital and web-based initiatives, or real and virtual archives. All submissions will be fully acknowledged and accredited within the Library, and contributors should provide full details on submission (or advise otherwise).

The Performing Rights Library is curated by Lois Weaver, Dominic Johnson and the Live Art Development Agency, and is being developed in collaboration with SPACE.

Submissions should be sent before May 15th 2006.
By post: PSi: The Performing Rights Library, Queen Mary, University of London, Mile End Road, London E1 4NS, United Kingdom.
Or by email: psi@qmul.ac.uk. E-mails should include "Performing Rights Library" as the subject title.
Submissions are non-returnable.

Andrew Mitchelson
Live Art Development Agency
Rochelle School
Arnold Circus
London E2 7ES
United Kingdom

t: +44 (0)20 7033 0275
f: +44 (0)20 7033 0276



UPCOMING EVENTS - PSi #12: Performance Rights, London, 14 - 18 June 2006
As part of this year&Mac226;s Performance Studies international (PSi) conference, Queen Mary, University of London, in collaboration with East End Collaborations and the Live Art Development Agency will be presenting a festival investigating the boundaries and relationships between Human Rights and performance. Further info: http://www.psi12.qmul.ac.uk

15. CALL FOR PROPOSALS: "HATCH" Harbourfront Centre
Deadline: May 19, 2006; Source: The RED Letter

HATCH: emerging performance projects

At the Studio Theatre, Harbourfront Centre
Proposal Deadline: 19 May 2006

Harbourfront Centre is currently seeking proposals from Toronto-area artists and companies working in the field of performance for HATCH: emerging performance projects for the 2006/2007 season.

Now heading into its fourth year, HATCH: emerging performance projects is designed to incubate and foster invention and innovation in the local theatre and performance scene and is quickly becoming an important element in the ecology of local performance development. While the primary focus of the programme is on projects from emerging theatre artists, we also welcome and strongly encourage proposals from more established artists engaging in new collaborations or entering into new artistic territory as well proposals of an interdisciplinary nature, including physical theatre and dance theatre. We are particularly interested in proposals that can demonstrate how HATCH will be of benefit to the project or the artist at this particular point in development.

Companies selected to participate in HATCH will receive a one-week residency in the Studio Theatre, located at Harbourfront Centre. The Studio Theatre is an intimate, 196-seat proscenium venue featuring a full lighting grid, raked seating and sprung stage floor. Use of the residency period is at the discretion of the artist and needs of the project (i.e. workshop, rehearsals, performance, etc.) but there must be at least one public presentation of the work at some point in the week.

The residency package includes:

- One week (Monday - Sunday), rent-free in the Studio Theatre;
- Professional development and mentoring in all areas of production and presentation - from marketing to international touring - under the guidance of Harbourfront Centre&Mac226;s professional staff;
- Production subsidy designed to cover: basic production staff costs during residency (one technician, one front of house staff, one assistant production coordinator, one ticket-seller); in-house production coordination; advance ticket sales and in-house box office services (*note: All charges incurred over and above this complement will be the responsibility of the company. Subject to the size and requirements of the production, minimum-staffing quotas will apply in accordance with Harbourfront Centre employment rules and regulations);
- Inclusion in marketing and media relations campaigns, including: media relations assistance; inclusion in Harbourfront Centre collective advertising campaign; presence in all of our relevant marketing materials; and, a dedicated half page ad in NOW magazine under the HATCH umbrella.

There will be 3 - 4 residency periods available between November 2006 and March 2007.

The full application package will be available online at <http://www.harbourfrontcentre.com/hatch>www.harbourfrontcentre.com/hatch.

For more information, or to receive an application package via email or post call 416 952-7969 or email <mailto:hatch@harbourfrontcentre.com>hatch@harbourfrontcentre.com .

We are unable to accept applications sent by fax or email.
Completed applications should be delivered in person, by mail or by courier to:

HATCH proposals
c/o Allison Bottomley, Artistic Associate
Performing Arts, Harbourfront Centre
235 Queens Quay West
Toronto, ON M5J 2G8

Deadline: 19 May 2006.

All applications postmarked by Canada Post or a courier company no later than 19 May 2006 will be accepted. Applications may also be hand-delivered Harbourfront Centre until 9 pm on 19 May 2006.

16. CALL FOR CONTRIBUTIONS (PRINT): "On Beckett" Performance Research Issue 12:1 (UK)
Deadline: May 29; Source: Performance Research

Performance Research Issue 12:1 (March 2007)
On Beckett
Issue Editor: Catherine Laws

As Beckett reaches 100 years of age, his work continues to provoke new artistic and theoretical responses. The centenary is generating a wide range of performances, exhibitions and conferences explicitly dedicated to his legacy in the arts and beyond. However, Beckett's influence upon much recent art and his relationship to theory can be deeply rooted but subtle and indirect. The format of Performance Research allows for artists' pages and other visual representations alongside articles, interviews, documents or reviews; we invite submissions with a relationship to Beckett or that consider Beckett's work in relation to contemporary practice and theory. We are interested in both explicit and more tangential, implicit relationships, in particular:

- Beckett's influence upon and/or relation to current performance practices, including visual
art, film, music, and cross/inter-disciplinary work;
- Beckett's influence on and/or relationship to current theories of subjectivity and the body;
- the reconstructed/mediated body and liminal subjectivity in late Beckett;
- the eye and the ear, seeing and hearing;
- other new theoretical perspectives.

Deadlines for issue 12:1 are as follows:

Proposals: 29th May 2006
Draft articles: 28th August 2006
Finalised material: 25th September 2006
Publication Date: March 2007

ALL proposals, submissions and general enquiries should be sent direct to:

Linden Elmhirst - Administrative Assistant
Performance Research
Dartington College of Arts, Totnes,
Devon TQ9 7RD UK
tel. 0044 1803 861683
fax. 0044 1803 861685
email: performance-research@dartington.ac.uk
web: http://www.performance-research.net

Content specific enquires should be directed to Catherine Laws at: c.laws@dartington.ac.uk

Enquiries about the volume as a whole should be directed to:
Ric Allsopp transomatic@orange.net OR r.allsopp@dartington.ac.uk

For complete Guidelines for Submissions please see:

Performance Research is MAC based. Proposals will be accepted in hard copy, on CD or by e-mail (Apple Works, MS-Word or RTF). Please DO NOT send images without prior agreement.
Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research

Linden Elmhirst 
Performance Research
Dartington College of Arts
Totnes, Devon TQ9 6EJ UK
Tel : +44 (0)1803 861683
Fax : +44 (0)1803 861685
e-mail : performance-research@dartington.ac.uk

17. CALL FOR ENTRIES: "Lines of Flight" (USA)
Deadline: June 2, 2006; Source: Leonardo-isast

Lines of Flight is an exhibition that explores the continual flight of culture and identity evoked by networked art projects. These projects are the place and non-place where hybridities may be enunciated, far from the territorial gravity of the earth and fixed borders. In this sense, the exhibition aims to expose the "lines of flight," the movement and exchanges between markers, nodes or locations, towards a new kind of cartography of the air. Such movement, ultimately, questions global territorializing systems of cultural homogeny by questioning the fixity and closure of its compartments with the "now" of creativity.

The show will represent the Leonardo Education Forum and will take place at Hunter College, NY. The dates of the exhibition coincide with CAA and consequently, will open between February 14°©-17, 2007.

We are interested in having networked installations and performances.

To be considered please send:

1. A description of work submitted which includes a statement as to how it engages with the theme.
2. Artist statement, CV, and Short Bio.

To: Celina Jeffery

18. CALL FOR SUBMISSIONS: ARCfest (Art For Real Change)
Deadline: June 12, 2006; Source: Instant Coffee

ARCfest is a Social Justice Arts Festival that will be held from October 23rd-29th in multiple venues in the Queen West Art and Design District and Parkdale neighbouroods in Toronto. As a multi-disciplinary festival, ARCfest features art events, panel discussions, speakers, and workshops addressing local social justice issues.

We are looking for provocative, radical, inspiring, empowering, innovative and/or enlightening works from across the artistic media (ie film, poetry, performing arts, music, visual arts and anything else you consider art). Proposals must address local social justice/activist/human rights issues.

Our multiple venues allow for projects of diverse size and scale. We encourage projects that are co-created or co-produced by an artist together with an organization involved in social justice pursuits (though this is not a requirement)

ARCfest Goals:
ARCfest aims to create a forum for dialogue and collaboration between diverse communities united by an interest in local social justice issues and to support the community of progressive artists, activists and community workers.

Who We Are
ARCfest is a project of Face in the Crowd -- a collective of artists and activists that use art as a creative means to affect social change. We are committed to producing and promoting socially relevant art that encourages and affirms the values of dignity, freedom, equality and social justice.

ARCfest encourages artists and curators at any stage in their career to submit a proposal.
All chosen artists will receive honorariums.

How to Submit
ARCfest Proposals (max. of 2 proposals per person)
Please include in your submissions the following:
1) Name, address, telephone number, email
2) Support material including: slides (max. 10 slides), photographs (max. 5) writing (max. 10 pages) a CD (max 1. CD), VHS or DVD, or any representations of your artwork, if possible. We will accept rough-cuts of films still in progress.
3) A CV or resume and brief bio about yourself (max 2. pages)
4) Description of the artwork, including physical dimensions, technical requirements (max 2. pages)
5) An artistic statement that includes the relevance of your artwork to local social justice issues (max 2. pages)
6) A self-addressed envelope with sufficient return postage if you want support materials to be returned
7) (optional) Organizations or individuals who you would like to have participate in a panel discussion following your event or to set up a resource table at your event.

ARCfest is committed to supporting equity and embraces submissions from diverse communities.
SEND TO: Face in The Crowd Collective PO BOX 128. Station E, Toronto ON, M6H 4E1

ATTN: ARCfest Submissions Committee
(submissions will not be accepted by email)